Bosse Provoost (b. 1993) earned his Master of Drama at the School of Arts Ghent|KASK Ghent in 2016 where he worked closely together with theatre makers Kobe Chielens (b. 1993), Geert Belpaeme (b. 1984) and Lieselotte De Keyzer (b. 1987). In 2015, Bosse Provoost directed two productions that could not have been more different: the intimate, even claustrophobic Moore Bacon!, inspired by the work of Henri Moore, Francis Bacon and Walerian Borowczyk, and Herberg, a broad, breath-taking spectacle that takes place beneath a bridge on route E17. What they both have in common, though, is an extravagant imagination prickled by the simplest of things. The more recent production The Act of Dying was created with Kobe, Geert and Lieselotte in the spring of 2017 and involved Henryk Gorecki's Third Symphony, a dancing wooden frame and movement referring to inherently violent animation film. In season 2018-2019 Bosse Provoost created a new piece, Matisklo.
Bosse Provoost talks to Subbacultcha Belgium about his piece Matiskloand how he experiences working at Toneelhuis for the project P.U.L.S.: "To be supported and be a full time artist is rare for someone in the first years of his artistic development".
Lisaboa, Bosse, Timeau and Hannah encounter Meg Stuart at NTGent, following the presentation of her shows that she recently performed in Belgium (Shown and Told, in cooperation with Tim Etchells; Built to Last; UNTIL OUR HEARTS STOP).
“You should always give everything as if you don’t know afterwards what to do anymore”. (Meg Stuart)
Meg Stuart (1965) is an American choreographer and dancer, living and working in Brussels and Berlin. Her company, Damaged Goods, is based in Brussels since 1994.
30 Jan 2019 - Bourlaschouwburg
"Geïntrigeerd, geïrriteerd, gefrustreerd, gegeneerd, geraakt - dat alles en nog veel meer was ik toen ik een uur na aanvang opnieuw op straat stond. Zelden beleefde ik zo'n bevreemdende theateravond, maar ook nooit eerder had ik het gevoel dat poëzie accurater op scène werd gebracht. - Carl De Strycker in Poëziekrant, januari-februari editie
ENCOUNTERS / WORKSHOPS Encounter with Kristof Van Baarle on dramaturgy: collective reading of essays from Patricia De Martelaere’s Wereldvreemdheid (Unworldliness) and a screening of an excerpt from Les Maîtres Fous (The Mad Masters) by Jean Rouch. Van Baarle sees them both as references to the question of how to find a form that is political, or towards the politics of form.
ENCOUNTERS / WORKSHOPS Encounter with Johan Leysen on play-acting: "It is difficult to say something sensible about play-acting. Of course I’ve had to learn a few things over the years, but I always try to keep it exciting by forgetting my experience and going back to the beginning each time.”
"What Provoost really wanted to do was represent Celan’s seemingly unintelligible language. Hence those bizarre costumes and all those minimal and tauntingly slow movements on the stage. I began this show with a completely open mind, as I always like to do, and found it irresistibly funny. Humour as dry as a desert, which put me in mind of Beckett and Wim T. Schippers. Provoost’s visual language gives a whole new meaning to Celan’s words, once snatched from a vast last resting place of the dead. (...) At the very moment when even the president of the United States of America is helping make racism and anti-Semitism socially acceptable once more, a handful of young Flemish theatre-makers shed a fresh new stage light on the language of an almost forgotten Holocaust poet. Hats off! For the ambition and for the flawless performance "
In the context of Matisklo Bosse Provoost publishes a collection of poems by Paul Celan translated by Ton Naaijkens. The poems were part of the creation process of the piece and are carefully selected by Bosse Provoost, Max Pairon, Ezra Veldhuis, Geert Belpaeme, Joeri Happel and Benjamin Cools. Some poems are adapted as theatre texts, others resulted in a visual, physical or dramaturgical expression.
Read the epilogue by Bosse Proost and Geert Belpaeme